In the past, the method for approaching art and material culture mentioned in the Dutch account books of late medieval princely
households has been characterized as ‘gathering dead wood’ and criticized for being ‘too superficial’. Because of the financial
purpose of the invoices it is ‘impossible to really learn anything about the scarcely mentioned acquired objects of art’.
In most cases, inventories are missing and the extant accounts are indeed used to create a reconstruction of pieces of art
that no longer exist. Taking this approach, one will end up with lists of unidentified items and their prices whereas further
meaning is desired. Accounts may seem useless for an art historical study. However, when the ‘gathering of wood’ is done thoroughly
and put to a different use, the mentions in the account books can shed new light on the consumption of art by a prince and
his household. The invoices can be used in a more social economical approach, instead of focusing on the pieces of art alone.
Case in point is a survey of the accounts books written by order of Albert, duke of Bavaria-Straubing, count of Holland, Zealand
and Hainaut. His The Hague court flourished from 1389 on when he decided to take on the Binnenhof as his permanent residence.
Ample information is available to discuss the subject at length: both craftsmen and merchants were responsible for the supply
of products of luxuries and art, mostly pieces of silverwork and embroideries. The chamberlains were responsible for the commission
or acquisition of these goods. Even some cautious conclusions can be made on the careers of these goldsmiths, needle workers,
merchants and chamberlains.

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